Bildungsromans; English fiction -- 20th century; Women musicians -- Fiction
All afternoon the snow fell steadily, and she stayed indoors and
debated how she might best re-create her soul. How she might drive
out from her being the demon of self. How she might open her heart to
pure, noble and unselfish motives. How she might rid herself of insane
jealousies. How she might become less conceited, less the egoist. How
she might build up in herself a real personality, strong, simple and
generous, something which would make life worth the living, even if all
other things were taken away. And how (God forgive her for thinking
this!)--how she might make herself more acceptable to Verreker, more
worthy in his eyes, more valued in his esteem. It meant tearing herself
to pieces. She declared that he had hurt her more than she had ever
been hurt before. It was so. She was hurting all over from his words
to her. But the surgical operation on her own soul would cost her more
still. The pain of it would be all the harder to bear because it would
be self-inflicted. She must stamp out ruthlessly what was ninetenths of
her.... And then beyond all the pain, in the sweet aftercalm, her soul
would be clean and passionately free....
That night she was playing at a concert in town. She played badly,
and as she left the platform she realized the fight that was in store
for her. Among the few things left which she dared to treasure was
her ambition as a pianist. It might be selfish and conceited, but she
felt that it was at any rate one of the most worthy parts of her.
And she saw that, come what might, she must not lower her standard
in that direction. Her fight to be a great pianist must be linked up
with her spiritual struggle for the cleansing of her soul. She went
home resolved that she would practise harder and more rigorously than
ever....
CHAPTER XVIII
DÉBÂCLE
§ 1
THE next morning she awoke with a bad headache. Her hands and wrists
were very hot, and when she tried to get out of bed her feet were
curiously vagrant and unstable. So she got back to bed and summoned
Florrie, her maid. Florrie was a country girl, large and buxom and
pleasure-loving. Catherine had got her by advertising in an Essex
local paper, a method which had been recommended to her as one by
which excellent servants are frequently picked up. So Florrie had left
the little village near Chelmsford and had taken up her abode in “Elm
Cottage.” The joys of the town fascinated her. In less than three weeks
she was “walking out” with a tram conductor. When Catherine was out
at evening concerts she used frequently to allow Florrie the evenings
off, and gradually Florrie came to regard these not as a privilege, but
as a right. She had a huge appetite and a habit of reading sixpenny
novelettes. There was no personal affection between mistress and
servant, though that was not altogether the fault of the latter.
Public-domain text, read in full here on John Shaqi.
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